Godzilla vs. Kong (2021)

The titular relationship has more dramatic nuance than any of the human ones (mom and daughter was sweet though), which speaks both to the poor writing (needed more self-aware moments like Walter’s cut-off speech) but also to the pretty satisfying way the God vs. King arc comes to a (ripped off and oozing) head (yes, the real enemy here is indeed the nonsensical sci-fi schlock that destroys us humans who make it). Fantastic monster action (the colours and camera angles and VFX are on point).

5

Godzilla: King of the Monsters (2019)

The massive scope of the worldwide adventure plot and the monster lot is great and it’s pretty cool rooting for Godzilla as the film’s superhero of sorts–a reclusive and proud personality taking on all the big bads even when he seems down and out. The human side of things is a harder to engage; props for effort but the family drama is a bit convoluted, the environmental discussion is one and done, and overall it bloats the film. Dr. Serizawa’s emotional monster moment was a nice touch though.

5

Godzilla (1998)

A giant, reptilian monster surfaces, leaving destruction in its wake. To stop the monster (and its babies), an earthworm scientist, his reporter ex-girlfriend, and other unlikely heroes team up to save their city. (IMDb)

It’s classically captivating pre-monster when you’re wondering with fear and awe along with the science/military team what could’ve caused this destruction; this period doesn’t last long, unfortunately, shifting to a barrage of mostly tiresome action sequences that are overcome in no way by the dumb plot (why didn’t they just blow it up with missiles in the first place?), cringe-worthy character work (Pitillo puts in a poor performance), and bland one-liners (“Running would be a good idea!”).

5.5/10 (Poor)

 

Godzilla (2014)

The world is beset by the appearance of monstrous creatures, but one of them may be the only one who can save humanity. (IMDb)

Cranston’s passionate Joe Brody is a solid protagonist in the first act here but as the focus shifts to his son the film loses most of its emotional edge; Taylor-Johnson is wooden and Olson isn’t given much to work with. The monster/disaster plot is engaging, and it looks great (Godzilla’s dissonant piano-backed reveal is awesome) but without any interesting characters amongst the pure plot-movers (the military, the scientists), the film struggles to be more than just your typical monster movie.

6.5/10 (Alright)